Tutorial and tab of Polskie Drogi as performed by Pat Metheny live at Congress Concert Hall in Warsaw, December 09, 2002, with Anna Maria Jopek and Friends. Standard tuning, Capo to 4th fret.
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About “Polskie Drogi”
“Polskie Drogi” (Polish Roads) is one of the most recognizable and beloved compositions by the celebrated Polish composer, pianist, and conductor Andrzej Kurylewicz.
Brief History of the Song
The piece gained widespread fame as the main musical theme of the highly popular Polish television series of the same name, “Polskie Drogi,” which aired from 1976-1977 and was directed by Janusz Morgenstern. The series depicted the lives of various characters during the Nazi occupation of Poland in World War II. Kurylewicz’s music, with its poignant and reflective melody, became intrinsically linked to the melancholic atmosphere and profound meaning of the series, symbolizing resistance, hope, and the difficult journey of the Polish nation. Kurylewicz, a multifaceted figure and a pioneer of jazz in Poland, managed to infuse the piece with both his classical training and his jazz sensibility, creating a work that transcends genres and resonates with universal emotion.
“Polskie Drogi” by Andrzej Kurylewicz
Interpretations by Various Artists
As such an iconic piece in Poland, “Polskie Drogi” has seen numerous interpretations by artists from various genres. Among the most significant are:
- Andrzej Kurylewicz (original version): The original orchestral performance, often with the Filharmonia Narodowa w Warszawie (National Philharmonic in Warsaw), serves as the benchmark and embodies the emotional essence of the piece.
- Ola Turkiewicz and Marek Bałata with the Koncertu Niepodległości band: A version performed during the “Independence Concerts,” which often includes rich arrangements and vocals.
- Alberto Nosè: The Italian classical pianist recently released his interpretation of the piece, highlighting its melodic beauty and harmonic depth in a classical key.
- Numerous Polish symphony orchestras and jazz bands: The piece is a classic of the Polish repertoire and is regularly performed in concerts and celebrations.
“Polskie Drogi” by Andrzej Jagodziński
“Polskie Drogi” by Henryk Miśkiewicz
“Polskie Drogi” by Alberto Nosè
Pat Metheny’s Version of “Polskie Drogi”
Pat Metheny’s interpretation of “Polskie Drogi,” particularly the one recorded on the 2008 album “Upojenie” (Ecstasy) in collaboration with Polish singer Anna Maria Jopek, represents one of the most captivating and highly regarded reinterpretations of the piece.
Pat Metheny, a world-renowned jazz guitarist and composer, brings his distinctive touch to this version, characterized by deep lyricism, a recognizable sound, and a sophisticated harmonic approach.
Metheny reworks the piece with his jazz sensibility, while preserving the original melodic essence. He often uses his guitar in a way that evokes a sense of spaciousness and melancholy, typical of his style. His version, often performed with the accompaniment of a jazz band or in more intimate settings, highlights the evocative qualities of the melody.
Metheny’s guitar, with its warm and resonant timbre, often enriched by a slight delay or reverb, lends an ethereal and dreamy dimension to the piece. The notes are singing, almost vocal, and blend into an enveloping soundscape.
Metheny does not merely reproduce the melody; he explores it with subtle variations and measured improvisations that enrich the theme without distorting it. The harmonies are often expanded, with rich chords and open voicings that add depth and color. His phrasing is impeccable, characterized by a balance between precision and fluidity.
Metheny’s performance is infused with great expressiveness. He masterfully uses dynamics, transitioning from delicate, whispered passages to moments of greater intensity, creating an emotional arc that captivates the listener. His execution is imbued with a sense of reverence for the original material, combined with his unmistakable artistic voice.
The collaboration with Anna Maria Jopek on “Upojenie” was particularly significant. Jopek’s voice, which often interprets the theme wordlessly or with evocative vocalizations, merges with Metheny’s guitar in an intimate and touching dialogue, amplifying the emotional depth of the piece and making it a cultural bridge between Polish sensibility and the American jazz approach.
In summary, Pat Metheny’s version of “Polskie Drogi” is a sublime reinterpretation that honors the original while projecting it into a new sonic dimension, demonstrating how a great melody can be interpreted and appreciated through different musical perspectives, maintaining its evocative power and emotional resonance.
About Pat Metheny
Pat Metheny, born in Lee’s Summit, Missouri, in 1954, is a world-renowned American jazz guitarist and composer. He’s celebrated for his unmistakable style, which is both orthodox and innovative. His sound is characterized by a soft, beautiful tone, often achieved by using the neck pickup of his hollow-body jazz electric guitar (initially a Gibson ES-175, then his signature Ibanez PM250 model). His music often evokes a mystical and evocative atmosphere, reminiscent of the vast American landscapes.
The Collaboration with Lyle Mays and the Pat Metheny Group
One of the most significant and enduring collaborations in Metheny’s career was with keyboardist and composer Lyle Mays. The two met at the Wichita Jazz Festival in 1975, sparking a deep artistic partnership. Mays, with his ability to blend acoustic and electronic sounds, particularly his pioneering use of the Oberheim synthesizer, became an integral part of the sound they would develop together.
In 1977, Metheny and Mays, along with bassist Mark Egan and drummer Danny Gottlieb, founded the Pat Metheny Group. This ensemble quickly became a benchmark in the international jazz scene, evolving a distinctive sound that combined elements of jazz, fusion, Brazilian music, and world influences. The Pat Metheny Group released numerous critically acclaimed albums, winning an impressive 10 Grammy Awards, including an unprecedented seven consecutive wins for seven consecutive albums. Albums like Pat Metheny Group (1978), American Garage (1979), Offramp (1982), and Still Life (Talking) (1987) solidified their reputation, showcasing complex compositions, rich arrangements, and telepathic interplay among the members. Their sound was marked by captivating melodies, sophisticated harmonies, and an innovative use of technology, often creating cinematic soundscapes.
Boundless Collaborations and Diverse Projects
Beyond the Pat Metheny Group, Metheny has demonstrated extraordinary versatility and an openness to exploring a wide range of musical genres, collaborating with world-renowned jazz musicians and artists from various fields. Among his numerous collaborations, notable names include:
- Jaco Pastorius: The legendary bassist contributed to his debut album, Bright Size Life (1976), helping to define his initial sound.
- Ornette Coleman: Metheny delved into more experimental territory with the free jazz pioneer on the album Song X (1986).
- Herbie Hancock, Jack DeJohnette, Charlie Haden, Brad Mehldau, John Scofield, Michael Brecker, McCoy Tyner, Jim Hall: These are just some of the iconic jazz figures with whom Metheny has recorded and performed, showcasing his ability to adapt and innovate in diverse contexts.
- David Bowie: One of his most surprising collaborations was co-writing the track “This Is Not America” for the film The Falcon and the Snowman (1985), demonstrating his ability to cross over into the pop world.
- Joni Mitchell: Metheny contributed to her live album Shadows and Light (1980), where Mitchell’s classic songs were rearranged with a jazz sensibility.
Pat Metheny interview to NEA Jazz Masters (2018)
Solo Guitar Work
Regarding his solo guitar production, Metheny stands out for his conceptual and varied works. Unlike his recordings with the Pat Metheny Group, his solo albums don’t have the typical “American fusion” feel and feature unique concepts, production systems, and arrangements. Each of his solo works explores different musical tastes, moods, and structures.
Among the albums that highlight his solo guitar or feature a reduced lineup, you can find:
- Bright Size Life (ECM, 1976): Although it’s a trio album (with Jaco Pastorius on bass and Bob Moses on drums), it’s his debut and fundamental for understanding his early sonic explorations with the guitar. It contains tracks like the title track and “Sirabhorn,” which already showcase his melodic and evocative style.
- New Chautauqua (ECM, 1979): This album is an example of his solo production, where the guitar takes center stage.
- One Quiet Night (Nonesuch Records, 2003): This album is entirely dedicated to Metheny’s solo guitar, recorded on a quiet night, as the title suggests. It received a Grammy Award for Best New Age Album.
- What’s It All About (Nonesuch Records, 2011): Another album where Metheny performs solo, exploring various melodies. This also earned him a Grammy in the New Age category.
- Road to the Sun (BMG, 2021): This album sees Metheny in the role of a chamber composer, with all guitar parts transcribed note by note.
- Dream Box (BMG, 2023): A more recent release that highlights his guitar work.
- MoonDial (BMG Modern Recordings, 2024): His latest album (set for release in July 2024), which features solo tracks performed on a baritone guitar and is said to contain the essence of his melodic and romantic lyricism.
Metheny has also experimented with the Orchestrion, a device that allows him to perform alone by controlling a series of musical machines and robots from his guitar, as demonstrated in the “solo guitar & orchestrion” concert.
His career has been filled with successes, earning him 20 Grammy Awards across 12 different categories, including an induction into the DownBeat Hall of Fame in 2013 and being named an NEA Jazz Master in 2018. These accolades solidify his status as one of the greatest jazz guitarists and composers worldwide.
About Andrzej Kurylewicz
Andrzej Kurylewicz (born November 24, 1932, in Lwów, died April 13, 2007, in Konstancin-Jeziorna) was a prolific Polish composer, pianist, trumpeter, trombonist, and conductor. His training encompassed both classical music and jazz traditions, and he’s considered a pioneer of jazz in Poland, skillfully pursuing both musical forms in parallel.
He began studying piano at age 6 in Lwów. After World War II, he continued his musical education in Gliwice and Kraków. In 1954, his academic career was cut short due to his professional involvement with jazz and his refusal to join the Polish United Workers’ Party (PZPR), a testament to his artistic and personal integrity.
From 1964 to 1966, he directed the Polish Radio and Television Orchestra in Warsaw. He lost this position due to his continued refusal to join the PZPR. As an instrumentalist and conductor, he performed in many European countries, the United States, Canada, and Cuba, spreading his music and Polish culture. From 1965, with his wife Wanda Warska, and from 1987 also with their daughter Gabriela Kurylewicz, he managed the “Piwnica Artystyczna Kurylewiczów” (Kurylewicz Artistic Cellar) in Warsaw, an important cultural hub.
Kurylewicz composed classical (chamber and symphonic), theatrical, film, ballet, and jazz music. He wrote song cycles based on poems by renowned Polish and foreign poets. In 1984, he was named “Stadtkünstler” (City Artist) of Wilhelmshaven, and from 1989, he collaborated with the State University of Kansas (USA), demonstrating his international recognition. In his later years, he performed as a pianist in concerts featuring the music of Karol Szymanowski and Fryderyk Chopin.
Selected Discography of Andrzej Kurylewicz
- Go Right (Polish Jazz) (1963, re-released in 2005) – A foundational album in the Polish jazz scene.
- Muzyka Teatralna i Telewizyjna (Theatrical and Television Music) (1975) – Features some of his most iconic soundtracks.
- Contemporary Music Formation (1973)
- Somnambulists (released in 1961, but containing recordings from 1958)
- 10 + 8 (1967)
- Korozje (with Tomasz Stańko) (1986)
- Muzyka Kameralna (Chamber Music) (1987)
Notable Original Compositions:
Film and Television Music:
- “Polskie Drogi” (Polish Roads) (1976-78) – The music for this famous TV series brought him immense popularity and remains one of his most recognized works.
- Music for the film Powrót (Return), dir. Jerzy Passendorfer (1959–60)
- Music for the film Lalka (The Doll), dir. Ryszard Ber (1977–78)
- Music for the film Lekcja Martwego Języka (Lesson of a Dead Language), dir. Janusz Majewski (1979)
- Music for the film Droga (Road), dir. Ryszard Ber (1980)
Jazz Compositions:
- “Obsession”
- “Nyamaland”
- “Minor Bop”
- “Tubby”
- “The Ballad About Lost Wages”
- “So-So”
- “Go Right”
- “Microphonophobia”
- “Juz ja z tobą nie zostanę”
- “Requiem dla Z.C.”
- “10 + 8”
- “Rondo z filmu ‘Cyrograf dojrzałości’”
- “Twarz widza”
Classical and Chamber Music:
- Concerto on themes from Jarzębski for trombone and jazz orchestra (1966)
- Rok Polski / Polish Year, 12 songs for amplified voice and orchestra (1975)
- Schema Quattro per Quattro for strings, trombones, and percussion (1975)
- Pięć Rozgrzewek / Five Warm-ups for solo piano (1975)
- Adagio da Dramma for orchestra (1976)
- Screenplay for symphony orchestra and tape (1977)
- Trzy Pieśni Romantyczne / Three Romantic Songs for baritone and piano to the poems of Alexander Pushkin (1977–79)
- Psalm 60 for string orchestra (1978)
- Episodi per Tre for horn, harp, and double bass (1978)
- Capriccio per oboe solo (1978)
- Nastroje / Moods for solo double bass (1979)
- Szkic Krajobrazu / Landscape Sketch for strings (1979)
- Te Deum for soprano and organ (1979)
- Pięć Pieśni wg Jana Kochanowskiego / Five Songs based on Jan Kochanowski for voice and string orchestra with piano (1980)
- Sonet for strings (1980)
- String Quartet No. 1 (1980)
- Capriccio a due for flute and cello (1981)
- Pięć Pieśni wg Czesława Miłosza / Five Songs based on Czesław Miłosz for voice and string orchestra with piano (1981)
- Salve Regina for boys’ choir and organ (1981)
- Hail Mary [version I] for soprano and organ (1981)
- Hail Mary [version II] for soprano and string quartet (1981)
- Symphonic Poem No. 1 “In Verona” for mixed chorus and large symphony orchestra (1981)
- Little String Quartet (1982)
- String Quartet No. 2 “Stuttgart” (1982)
- Drzeworyt 1 / Woodcut 1 for solo flute (1982)
- Missa Brevis for soprano and organ (1982–83)
- String Quartet No. 3 “Easter” (1983)
- Drzeworyt 2 / Woodcut 2 for solo flute (1983)
- Dormitina for string trio (1986)
- Blow the Wind for wind quintet (1987)
- Time For Jazz (Blow The Past) for wind quintet (1989)
- Trio per tre (for clarinet, viola, and piano) (1994)
- New Year’s Quartet (for clarinet, trombone, cello, and piano) (1995)
- El Dancion Sentimental for piano trio (1998)
- String Quartet No. 4, Of the Prayer (1999)
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